straduser21

Hey, I plan on auditioning for a concerto competition at my college, and using the first movement of the Haydn trumpet concerto as the repertoire for the competition. Anywho, I have the piece down, but it just occurred to me that on a CD I have of Wynton Marsalis that plays a 1/2 minute to a minute of cadenza material. I was curious if that is recommended to play for the audition, and if so, where to find the music for that particular cadenza, because I have a revised score of the Haydn trumpet concerto, and it simplys shows a cadenza as a G trill ending on a F. Any help would be great :)

hornblatt

Write your own. I couldn't count how many times I've heard this said to myself and others. If you can play the Haydn well then you can write your own cadenza. It doesn't need to be long (the first one I wrote was no more than four lines). Just take ideas from the piece and make a short but musically compelling addition. I can show you the one I wrote when I was 13 if you want inspiration....

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Annie Lemieux
2006 ITG youth competition WINNER

straduser21

So the cadenza can be basically created by the performer? Wow! I never knew that classical musicians can "improvise" melodies as well. Interesting. Thanks! This is a whole new world haha.

rowuk

straduser,
get the idea that you "have it down" out of your head. Many pros don't "have it down". I am sure that you have at least 6 months worth of serious work to invest, and I haven't even heard you play one single note. If you really had it down, we would know who you are. Word gets around when somebody is that good and can back up a claim like that.

Yes, a cadenza is recommended. More on that can be found here:
http://www.TrumpetMaster.com/vb/f146...ydn-46901.html (playing during the opening tutti in the haydn)

Transcription is the way to get the cadenza. Sit down with some headphones, music paper and a pencil. A humbling and valuable lesson in studying style.
The trilled G that you mention is not the cadenza. It is a recommendation how to end the cadenza.

__________________
Whenever I feel blue, I start breathing again.

straduser21

Dulely noted.

Thanks for the thread, that helps a lot. The threads sheds a light on the Haydn solo I never knew about. Gotta love history

Skiingfool

If you really want to impress the judges than you must perform the cadenza. What you should do is get many recordings of this piece. Youtube has a ton. Then you can choose which cadenza you like the best and learn it by ear. It sounds hard but it is actually very easy.

Good luck, and let me know how it goes.

rowuk

It sounds like you have NEVER participated in a competition. Judges are impressed by rhythm, consistent articulation, nice sound, dynamics and style. By the time you get to the cadenza all you can do is pick up a couple of brownie points for creativity.

Generally after the first 2 half notes at the very beginning, I know how well the player has prepared and what is to come. It is amazing how many players don't even get that first measure right!

__________________
Whenever I feel blue, I start breathing again.

Bob Grier

Over the years I've judge 100s of auditions. As rowuk stated I look and listen for tone, intonation, Phrasing, how well the player has done their homework on the piece. I don't worry about little mistakes or cadenzas. Will they play well on a concert? Like rowuk I can tell in the first phrase how they are going to play the rest of the piece. The one word I can give you for the Haydn is ELEGANCE. Al classical music should be playyed with an air of elegance. Good luck.

__________________
Bob Grier, An Old Pro
Web Cam trumpet & jazz improvisation lessons
bgrierjr@triad.rr.com
Schilke B5 GB bell
NY Bach ML 37GB Bb 1949
Benge 7X 1985
Conn 22B 1940s
King Liberty Silversonic 1975
King Master Model Siversonic cornet 1975
1985 Bach C L 229GB 25A
1985 Bach D ML 239
1985 Bach Eb ML 239
1967 Martin C ML rose brass bell
1985 Selmer Paris Picc with Osmun A pipe
& Blackburn Bb pipe
1975 Getzen Eterna Flugelhorn
1985 Yamaha YFH 635T Flugelhorn

rowuk

Bob, I've done a fair amount of research on the Haydn and even tackled the keyed trumpet. I think that we have 2 things happening in the Haydn:
1) the elegant stuff is the chromatic and low register passages
2) the upper register and fanfare stuff needs to sound like the natural trumpet, a bit heavier handed, sharp articulation, maybe even a bit of that fanfare edge in the tone. More than any other piece for trumpet, this is for people that understand split personalities.

Haydn really showcased the differences. Most trumpet players don't pick up on this because they listened to Maurice André first. The modern high Eb trumpet is about as far away from a keyed trumpet as one can get. With it we can play all of the notes, but lose most of the "color" originally composed into it. Playing it on a standard Bb is not quite as "secure" for most, but gets us closer to the original intentions. This also applies to the Hummel for the most part too!

__________________
Whenever I feel blue, I start breathing again.

Trpt.

Rowuk,
these two points remind me of the new Matthias Höfs Haydn recording, played on the keyed trumpet.
Simply fantastic, with elegance and brilliance.
http://www.matthiashoefs.de/trompete...hp?sel=3&nav=0